Cypher, for solo trumpet, is one of a series of works focusing on subtle ratios of time and the goal of obscuring the perception of 1:1.  These ratios (for example – 1:1, 7:6, 5:4, 4:3, 3:2, 5:3, 7:4, 11:6, 2:1; or 12:12, 14:12, 15:12, 16:12, 18:12, 20:12, 21:12, 22:12, and 24:12) are approached by means of a loose system of situation based rules.  Cypher – a secret method of writing, as by transposition or substitution of letters, specially formed symbols, or the like; writing done in such a method; a coded message; or the key to a secret method of writing.

Cypher was composed with Grace an algorithmic composition environment by Taube.

Farseer, for clarinet and quadraphonic interactive electronics and/or fixed media, is a culmination of the composer’s fascination with optics, visions, and, well, things-visual.  From considering the vast distances that we can now see with the aid of various lenses and other imagery devises, to the possibility of seeing into the future or past (via visions, hallucinations, or devices), the notion of distance and time having a “malleable” boundary for vision/knowledge/perception is central to the premise of the piece (listening is an analogue to seeing.)  By using the clarinet as the sound source for the fixed media elements, as well as having live processing of the soloist’s performance, it is hoped that the melding of materials will have the periodic effect of blurring the perception of source, timing, and space.

Farseer was composed with Grace (an algorithmic composition environment by Taube), Csound, Protools, and Max/MSP.  Farseer was composed for and with materials recorded from clarinetist Kyle Rowan.

2007

Reflection,  for solo piano was commissioned by Adam Scott Neal. This work is primarily concerned with the interaction of light and reflective surfaces. Reflection is characterized by the opening phrase of the work where a single pitch is played twice, a different pitch is played, and then the first is played again. Also, the notion of reflecting is observed in neighboring rolled figures where the first roll will go in one direction and the following will go in the opposite direction.

Reflection was composed with the aid of GRACE, an algorithmic composition environment, by Taube. Reflection is an experiment in mapping the statistical occurrence of gestures over the course of a work, and is part of the continued experimentation by the composer using weighted interval sets as a means of organizing pitch.

2007

• Premiere: Student Composer’s Concert, Champaign, IL 11.13.2007 – Smith Recital Hall

The Feel of May, for solo bassoon, commissioned by Stephanie Koher.

While reading poetry I came across several lines concerning the passing of time and how specific times of year have a “feel” to them. This notion of a perceived “feel” intrigued me, because, while I can associate with having these feelings, I am also aware that I am sometimes (it seems like most of the time) too busy to notice what is going on around me. After making these connections I have found myself making greater efforts to “take in” my surroundings, and to not let the simple beauties around me become a blur, as if being passed in a speeding car. This is not always easy or even possible. In fact, there is now something similar to a tug of war going on within me at all times: one side wants to take all necessary steps to see that the business of life remains in order, and the other desires even the briefest respite in which to essentially “stop and smell the roses.” While the month of May is arbitrary (it is merely the month in which my journey began), this tug of war, or tension and release, is the premise behind The Feel of May. Wanting to slow down and experience life and then being sucked back into the unpleasantly necessary business is something we can all relate to. Hopefully life will allow us a few more breaks in the future so we don’t miss the beauty which surrounds us.

Concept Drawing No. 1 was approached with two goals in mind, to follow a strict set of rules governing pitch, rhythm, and texture and to have an aurally pleasant result.  Some of the rules consist of maintaining an almost constant running 16th note, that there will be no “non-chord” tones, the work will progressively become more complex (for the most part), and that each measure’s harmonic identity will be determined by the rolling of dice.  To this end, I first composed ten sonorities; some of these were traditional in construction and others I composed as a situation based rule.  For example, this sonority will be the same as the last sonority “chosen” except with these changes… like adding or removing intervals from the “fundamental” of the sonority.  I then proceeded to roll and 12d for the “fundamental” pitch class and a 10d for the sonority for every measure of the work, a number that I obtained by multiplying the results of two rolls of a 20d.  So, aside from a trip to the local gaming store, the completion of this piece required the analysis of the derived materials for the best possible route to the double bar.